“Mischa Bouvier was superb”

—The New York Times

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Mischa is widely regarded as a singer of keen musicality and unique beauty of tone. Praised by Opera News for a “soothing, cavernous baritone that can soar to heights of lyric beauty,” and by San Francisco Classical Voice for an “immensely sympathetic, soulful voice” and “rare vocal and interpretive gifts,” Mischa continues to garner critical acclaim for a diverse performing career that includes concerts, recitals, staged works and recordings.

Mischa was born in Alabama, and mostly grew up there. Trumpet lessons, choir, and more than his share of lead roles in school musicals led to vocal studies at Boston University. After BU, Mischa continued his training at the University of Cincinnati’s College-Conservatory of Music, completing his M.M. in Vocal Performance.

This past season included performances with the American Bach Soloists (Bach’s “Hunting Cantata”); collaborations with the Mirror Visions Ensemble in the U.S., France, Wales and Scotland; performances of works by Monteverdi and Buxtehude with TENET Vocal Artists; Handel’s Messiah with the Orquesta Sinfónica de Puerto Rico in San Juan, and the Sebastians in NYC; concerts with Sonnambula, Bach Collegium San Diego and Publick Musick; and a second recording of Agostino Steffani’s duetti da camera with harpsichordist Jory Vinikour.

Mischa’s upcoming season includes collaborations with the American Bach Soloists (works by Bach and Handel), TENET Vocal Artists (Monteverdi’s Vespers in NYC and Venice), Bach Collegium San Diego (Bach’s St. Matthew Passion), and the Mirror Visions Ensemble (various programs).

Mischa lives on Long Island.

He certainly possesses the vocal prowess necessary for this demanding role, with grace and agility in high passages, and a rich, sonorous lower range… the performances showed Bouvier’s greatest assets: remarkable technical facility and precision… Bouvier has chops
— San Francisco Classical Voice (as Apollo in Handel's "Apollo e Dafne")
Bouvier, a baritone with a rich timbre and a fine sense of line, brought considerable character to songs by Brahms and Paul Bowles
— The New York Times (singing Brahms lieder and excerpts from Bowles's "Blue Mountain Ballads")
‘Le loup et l’agneau’ (The wolf and the lamb) by the often-underrated André Caplet, with burnished baritone Bouvier inhabiting the world of the two animals
— The Boston Musical Intelligencer (singing the last of Caplet’s "3 Fables de Jean de la Fontaine")
— The New York Times (performing excerpts of Mohammed Fairouz's "Furia")
He performed the challenging chromatic aspects of his recitative ‘Qual insolita luce’ with aplomb, effectively conveyed Lucifer’s violent arrogance in the aria ‘Caddi è ver,’ and finely captured the pitiful surrender yet smoldering defiance in Act II’s ‘Per celare il nuovo scorno’
— Opera News (as Lucifer in Handel's "La resurrezione")
When Mischa Bouvier thundered Jehovah’s threat to ‘shake the heavens and the earth’ with his opulent, virile baritone, I suspected even atheists in the audience began to worry. His ability to navigate Handel’s daunting passagework with uncanny precision while sustaining his massive sound might be one of the seven wonders of the modern opera world
— San Diego Story (singing Handel’s "Messiah")
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